Is the studio industry dead??

DamagedTrax · 13-02-2011 12:54pm

woodsdenis wrote: »

Hi this is question for trackmix aswell Are you talking about engineer+studio or
just engineer for 400 pd. I assume you both own your own gaffs.

400 was just a figure off the top of my head as it was halfway bewteen 200 and 600.

at our place we're 350 a day for studio + engineer. i dont own the place so the money isnt great. i make money on the mixes as built my own mixing room. which also leaves the studio free for tracking for the other engineer.

DamagedTrax · 13-02-2011 12:57pm

off.the.walls wrote: »

adding a new discussion to this.... do you go for a studio because of the gear they use when a home studio with well not less professional gear but less expenisve gear can get you the same results?

if i was a musician looking to record i'd first look at the engineer. after that i'd look at the gear. cheaper doesnt bother me as long as its not cheap crap. an sm57 is cheap but it aint crap.

Bluebirdstudios · 13-02-2011 8:39pm

Engineers standard of course is the first consideration. That said I think really talented engineers find their way into working with high-end gear in great studios or mix rooms or whatever. To me the first sign of a good engineer is the drive to get the sound they're after and finding a way to get it. Like all walks of life its ambition that drives.
I had maybe 20 or so student engineers over the last 12 months.. lets say 20 the breakdown ---
16 played the wee in the studio for the 3 days - no hope
3 talk the talk but arrived late , left early and didn't ask any relevant questions
1 *** asked all the right questions , wanted extra time on outboard, talked to the band, took sample of the mix home to try and mix a version, ask for advice wanted more studio time..
- You get the picture
Now to get above back on topic..
Lets take that last guy - he does exist.. I have a feeling he'll do whatever it takes to get to learn how to mix audio to a professional standard. Its people like him that make a studio work as a very viable place of high-end audio.
Couple great gear with great talent its simply a no brainer - studios will survive..

fitz · 14-02-2011 9:46am

off.the.walls wrote: »

adding a new discussion to this.... do you go for a studio because of the gear they use when a home studio with well not less professional gear but less expenisve gear can get you the same results?

I've a great home setup, and get good results.
Certain things I can do with my setup, but if I want to get top notch results, there are things I need a studio for.
Everything is a consideration when choosing a studio.

We recorded the song that's in my sig in Windmill Lane with Tony Perrey.
Tony is totally on top of everything, and did a fantastic job with us.
Worked fast and got us a great result.
Studio 1 in Windmill is an incredible sounding room. If you've never been in there, it's difficult to describe, but there are so many options available from the one room.
And then there's the desk/outboard/mics. Neve desk, top notch mics, the best of vintage and modern outboard.

People - Room - Gear. It's the holy trinity of recording...if any of the three isn't up to scratch, it's going to impact the end result. The better each of these elements are, the better the outcome.

Bands will always want their material to sound like a top commercial record, so there will always be demand for studios that offer the people, rooms and gear to deliver that standard.

PaulBrewer · 14-02-2011 10:08am

I remember a time around here when even the mere mention of 'proper' gear would attract a tirade of abuse ....

Good to see a broader worldview !

fitz · 14-02-2011 10:17am

I think there's a balance to be struck Paul...
We got that song recorded in a day, mixed in a second day.
Now, that was only possible because I had pre-produced the track, recording it at home, knew exactly what we wanted, and was working with people who were super-efficient.
There's elements of the recording that, looking back, we could have done at home without compromising hugely on results (textural parts, etc...), but again, largely cause I've a great setup at home. You don't absolutely need to be going to somewhere like Windmill for great results, but it certainly a lot easier to get them in a studio like that...if you know what you're doing.

PaulBrewer · 14-02-2011 10:31am

That's the balance ok - I sometimes find that with bands the 'recording' becomes the event , not 'the song' .

What you described is the most efficient way of recording to my mind - solid home preparation and get in there and do it.

madtheory · 14-02-2011 11:41am

PaulBrewer wrote: »

I remember a time around here when even the mere mention of 'proper' gear would attract a tirade of abuse ....

No it wasn't abuse, just well informed disagreement. The problem was the gearheads getting sniffy.

PaulBrewer · 14-02-2011 12:13pm

madtheory wrote: »

No it wasn't abuse, just well informed disagreement. The problem was the gearheads getting sniffy.

Before your time Mad !

madtheory · 14-02-2011 2:51pm

OK, so we're not talking about the mic pre debate that came up a few times?

danjokill · 14-02-2011 4:36pm

Bluebirdstudios wrote: »

Lets take that last guy - he does exist.. I have a feeling he'll do whatever it takes to get to learn how to mix audio to a professional standard. Its people like him that make a studio work as a very viable place of high-end audio.
Couple great gear with great talent its simply a no brainer - studios will survive..

This is so true.

Is the studio industry dead??

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